the 1980s

In comic books, Modern art rarely makes an appearance. If it does, it’s usually seen as the backdrop to a crime—a museum heist, for instance. That’s what makes Grant Morrison’s “The Painting That Ate Paris,” a storyline running in DC Comics’ Doom Patrol, so rare; that comic took art and turned it into one of the most villainous creations ever known.

Walter Robinson observes how, in galleries and the auction houses, 80s artstars (Julian Schnabel, Eric Fischl, and David Salle, among others) are back. He’s not exactly sure why that is, other than “now that it’s history, it can begin its endless comeback.” [Artspace]

“When I painted a Matisse, I became Matisse. When I painted a Chagall, I was Chagall. When I painted a Picasso, I was Picasso.” Interviews with a slew of art forgers reveal that they have strategies similar to method acting. [ARTnews]

By now, you’ve probably heard about the controversial whitewashing over “graffiti mecca” 5Pointz in Long Island City. Gothamist found at least one person who doesn’t think the mecca’s end is so bad; the works were “safe.” As recognized by the original agreement, the building didn’t allow political, religious, or X-rated graffiti. [Gothamist]

A nice piece by Tyler Green that ruminates on how California’s state freeway has influenced art makers. [Modern Art Notes]

Rob “Still the Mayor of Toronto” Ford’s TV show debuted this week; it was cancelled soon after the first episode. [Slatest]

The Animal staff go to Toronto to buy crack and investigate the Rob Ford situation. They manage to buy crack, fact-check their crack and speak to an actual crack smoker about the mayor’s seemingly out-of-control antics. “It’s embarrassing. I’m embarrassed. Even as a smoker, I can’t see how you’re going to sit down with a bunch of people and say you want help for the city.” She blows out enough smoke to change the color of the room and continues. “No one is going to take him seriously.” [Animal]

“The selfie is a revolution against the camera’s tyranny. It puts the person being photographed in control of the photograph. It is an art of freedom.” Surprisingly, the Guardian’s curmudgeonly art critic Jonathan Jones comes out swinging for the selfie in art. He may have confused “freedom” with “pointing a camera at your face.” But maybe there is a selfie revolution, with liberty and justice for all. [The Guardian]